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Building up with Pueblo’s Beyond Bridges

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Reggae is a largely misunderstood musical genre; not only was it not invented solely by Bob Marley in the mid 70’s (who himself had even deeper musical roots with the Wailing Wailers in the early 60’s) like too many think, but it also encompasses an ever-growing and changing past, present and future, including entirely new groups of evolutionary musicians findin…

!– BEGIN THEIA POST SLIDER —

Reggae is a largely misunderstood musical genre; not only was it not invented solely by Bob Marley in the mid 70’s (who himself had even deeper musical roots with the Wailing Wailers in the early 60’s) like too many think, but it also encompasses an ever-growing and changing past, present and future, including entirely new groups of evolutionary musicians finding new ways to carry the island rhythms forward.
Forging driving and endearing music with reggae at the center, Pueblo’s own Beyond Bridges is at the forefront of such endeavors. Much more than your average reggae act, the band also harnesses elements of heavy So-Cal surf rock and alternative music, at times exploding with overdriven,intertwined and complex soloing a la metal gods Iron Maiden and monster stadium rock choruses. While the juxtaposition on paper seems odd, this quartet navigates such choppy and uncertain waters with ease, heavy riff-laden rock eased up with soothing dubbed-out reggae refrain.
All of this has come to a head with “On My Mind,” the first EP from Beyond Bridges; 5 songs from a formidable band of brothers who are here to have a good time and help you do the same.


John Bueno (PULP): I’m a few listens in to your new EP, and I gotta say, I’m a bit surprised something like this is coming out of Pueblo. Not in a bad way though; it’s just it isn’t something we usually have here.
Adrian Hernandez (bass/vocals): We’re all from here. So we get it. And we all know that there’s a stigma about anything coming out from here. But we’d like to think we can break through that.
Tony Garcia (guitar): I feel like there’s a new generation here; and they’re interested in progressing. It’s not “Pueblo can’t do this” anymore; now it’s more like “Pueblo SHOULD do this.” Kind of go beyond what we are comfortable with.
Speaking of going beyond, does the name Beyond Bridges represent that idea?
TG: Actually, when Kai (Furuto; multi instrumentalist and vocalist of Beyond Bridges) and I started this as a duo act, we would always write songs that would end up having this complex bridge part that would kind of veer off into solos and stuff. So we were looking for something involving bridges. We wanted to call it Bed Bath and Beyond Bridges. (laughs)
AH: It was too hard to license the logo. (laughs)
Your new EP was recorded and produced with Lastleaf Audio here in town; is this your first?
AH: Yes it is.
How was the making of it?
AH: Well, it was my first complete thing, so I don’t have a lot to compare it to. But we tried to go into a studio once early on, and maybe it was too early; but working with Matt (Herrera/ Lastleaf engineer) was a totally different experience; much more comfortable this time.
Some producers have a tendency to be a little too hands on or assertive when working with bands; it may sound soft, but most musicians are sensitive. Especially when it comes to something they’ve created. It was great having Matt, because he’s not the type to push you into what he wants you to do; he lets you guide yourself to the best sound and arrangement.
Kyle Spinuzzi (drums): We did drums the first day, and it was super easy. Matt is so great to work with. His place was comfortable to produce in and I went in confident. Plus it’s nice to do this in our hometown; not everyone gets that opportunity.
TG: It was really interesting for me. I do and run sound a lot, but it’s a totally different thing from raw live sound to the mixing and mastering stage; I knew what our sound was and what we could do, but it was really cool to turn that into an end result. It was a learning process the whole way.
I like that Matt didn’t autotune a thing, either. There’s very little correction on anything. We got a raw sound from him. There were a lot of takes involved to do that, though.
AH: Mostly because I was moving my feet while recording.
TG: But Matt wanted that to be us, in our raw stage, maybe with a little more sparkle. Moving forward,  I’ll take all of this in for our next recording as a guide for sure.
That’s a definite plus to do all the recording and mastering in town. Way easier I would think. You don’t have to rush it.
TG: We did it over the holidays, right when everyone was already busy.
AH: Oh yeah; the time span was over like 4 months or so. There was no big rush with Matt; he was never standing over us looking at his watch saying “you got a half hour” or anything like that. We were able to go over every song layer by layer, …
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Music

Acoustic heartbreak in the Colorado San Juans with John Statz

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John Statz by Veronica Holyfield

Songs about heartbreak should resinate. And with John Statz they do. They’re equally soft and striking. His new full-length album “Darkness on the San Juans,” available May 11, takes an acoustic turn from his other recent work. Then, he had full bands in studios. With this project, he gathered a few friends in his living room to record. Like heartbrea…

!– BEGIN THEIA POST SLIDER —

Songs about heartbreak should resinate. And with John Statz they do. They’re equally soft and striking.
His new full-length album “Darkness on the San Juans,” available May 11, takes an acoustic turn from his other recent work. Then, he had full bands in studios. With this project, he gathered a few friends in his living room to record.
Like heartbreak itself, the album is more personal, more raw and more intimate. The Wisconsin native who now calls Denver home said he hasn’t done something quite as stripped down in a while, and when it came to get back into songwriting after the release of his last album last summer, there was also a reason to write.
It was the aftermath of a breakup.
“We retrace our steps. We look at what we thought we knew. We ultimately discover and face the truth under the stories we told ourselves along the way,” he says of the album.
In addition to the post-love songs, the album features a few songs Statz previously worked on but didn’t have a place on an album, and songs that are meant to be more acoustic. “Presidential Valet” is the story of Armistead, President John Tyler’s valet, or slave, who died alongside seven others in an explosion after Tyler and members of cabinet were watching the firing of the “peacemaker” in 1844.

So, this album is about heartbreak. Did that change how you wrote or approached the album at all?

Yeah. It just kind of comes out more — I don’t know — when you’re writing about heartbreak it’s just seems like the easiest type of writing. It’s just pouring out of you. You don’t have to come up with a concept or a story or any of that.

In the bio you released ahead of this album, it references a pretty famous Ernest Hemingway quotation: “Write hard and clear about what hurts.” Maybe as a writer I hear about this all of the time, but there’s definitely a writing style associated with Hemingway — to write very concise and clear. Did you take any of that with you into the songwriting or was it all about the emotion?

You know, it was the emotion part. I didn’t think about that, but the songs are fairly concise and short. So I appreciate that might also be relevant there even though I didn’t intend that.

The title of this album is “Darkness on the San Juans.” Explain that a little bit.

It’s a line in the song “Highways.” Geographical references are all over my songwriting. On every album I’ve ever written. So it’s a song about driving places with someone and either ending up back at those places later and having other memories being their previously. The San Juans was one of those locations that was important.

Why do you think you end up writing about places so much?

I mean, an obvious answer is that I spend a lot of time driving around to gigs, and I’ve been a lot of places because of that. And just for fun. I love roadtripping around Colorado, and camping and that sort of thing. So it’s not a planned thing. I’m living and breathing this lifestyle from A to B to C and that infiltrates the writing. But also, it’s a convenient rhyming scheme. Sometimes it can be hard to find a word, but there’s usually a city that will fill in.

How long did it take you to finish this album, being that the concept is fairly raw?

It all happened pretty fast. The two non-heartbreak songs, “Presidential Valet” and “Old Men Drinking Seagrem’s,” were older. They’re social commentary tunes. But I just hadn’t recorded them to yet and I was waiting for an acoustic album to do that. I started writing in the summer. I decided in December to record them. I called my friend Nate, flew him out in January. And we recorded it in three days in my living room.

Had you recorded like that before?

It’s been a while, but yeah. My first couple albums that I made when I lived i…
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Music

Soul mates: An interview with Colorado’s in/Planes

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I feel the need to take a quick second to clear something up—I watched the band in/PLANES get married. Not for this article, mind you; the ceremony was years ago. I have been friends with musical and otherwise soulmates Inaiah Lujan and Desirae Garcia for over a decade at this point (due in no small part I’m sure to ou…

!– BEGIN THEIA POST SLIDER —

I feel the need to take a quick second to clear something up—I watched the band in/PLANES get married. Not for this article, mind you; the ceremony was years ago. I have been friends with musical and otherwise soulmates Inaiah Lujan and Desirae Garcia for over a decade at this point (due in no small part I’m sure to our mutual enthusiasm and passion for local music). As a result, I have had the opportunity to bear witness as not only their music but also relationship has burst and bloomed into multiple amazing endeavors. Whether it was their passionate and spirited take on Dustbowl-era Americana as members of folk revivalists the Haunted Windchimes or the wonderfully intimate lo-fi solo albums the both of them have released over the years, these two have a continually impressive musical output and a charm that I have always been excited to delve into. Hell, they even played in my basement once upon a time.
But none of them have struck me quite the same way as in/PLANES has. “Radio Wave,” their first full-length offering via Denver indie record label GROUPHUG, is something altogether different; something wondrously unique. It could be their voices. THOSE voices—honeyed and harmonious—especially whilst entwined in the duets that frequent the songs of in/PLANES. It could be the melodies they create—a riding-high blend of 50’s sha-la-la doo-wop, 60’s sunshine pop and indie-birthed soul—that feels distinctly pop without the trappings of sounding glossy or over-produced. Where tons of modern indie acts are ready to make a loud racket, in/PLANES instead opts to let the grooves play out sparsely and intimately, with inviting musicianship and vocal performances that envelop the space surrounding them. Whether live in concert or in the car, the music of in/PLANES holds on tightly and never lets go.
PULP: It’s weird trying to formally interview you guys; being friends makes it weird to ask you questions in a regular way.
Inaiah Lujan (guitar/vocals): That’s okay.
Desirae Garcia (bass guitar/vocals): We’ll be semi-formal.
IL: Business casual. (laughs)
I did do some research though, and I realized that in/PLANES has been around for longer than I remembered. But this new album is your first full length?
IL: Yeah. This is our first formal release that isn’t an EP. And also first physical release. There is some intention with that. You know that we are champions of analog stuff; Cassette tapes are my first love; I grew up making mixtapes. And CD’s have always felt pointless to me, but for so long we played the game because you used to HAVE to have CD’s on the merch table. But this band has been pretty vocal about our disdain for CD’s; “Radio Wave” is only going to be available on cassette. You’ll get a digital download with purchase of the tape.
Speaking of which, what does the name “Radio Wave” mean in regard to the band?
DG: It’s a line from the song “Why Didn’t You,” a song that is actually not on the record. (laughs). But it’s the very first in/PLANES song we ever wrote. We wrote that song, and it felt like it was part of a totally different project; it felt different than anything we were doing. So maybe it’s a nod to the beginning of the project. We like to think of the song as kind of a breadcrumb to where we are at now.
IL: The benefit of this band is getting to take our time with things; to be more intentional. So now we have been releasing stuff retroactively. The EP we released just last month is stuff we had recorded from our apartment; “Radio Wave” is stuff we put together with Adam Hawkins from Right Heel Music and our drummer Carl Sorensen, and we already have another album in the works.
For me, it also has dual meaning; in/PLANES seems to always create this kind of duality. “Radio Wave” also musically reminds me of when people were only listening to the radio. It kind of plays to idea of this vintage-pop genre we’re kind of going with.
DG: That’s also the music that this record is really inspired by.
IL: The EP feels like kind of a sampler or mixtape for what we’re all about, but this full length is more focused; a little more of that classic pop sound. It’s a fitting title for sure.
DG: Also it’s 1,000,000% love songs; which is bad and good. (laughs)
When you wrote “Why Didn’t You,” did it feel like a song intentionally fo…
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Music

CO Springs emcee Che Bong goes outer limits on new psychedelic full length

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Electro-Soul Hip Hop | Che Bong – From the dusty ‘Amen break’ heavy loop-gone-psychedelic of album opener Telescope to the lo-fi space rockin’ of album ender The Paradox of Time, CS emcee Che Bong (of Bullhead*ded) has really outdone himself and the genre itself on Telescope to the Heavens. With an album full of immersive and challenging-yet-chill hip ho…

!– BEGIN THEIA POST SLIDER —


Electro-Soul Hip Hop | Che Bong – From the dusty ‘Amen break’ heavy loop-gone-psychedelic of album opener Telescope to the lo-fi space rockin’ of album ender The Paradox of Time, CS emcee Che Bong (of Bullhead*ded) has really outdone himself and the genre itself on Telescope to the Heavens. With an album full of immersive and challenging-yet-chill hip hop musicality that owes just as much to free jazz and psychedelic rock as it does to hip hop and neo-soul, Che is on some next level stuff.  Get. On. It.



90’s inspired Alt-Punk | Hooper – “No Monument” from Denver Rock City punkers Hooper does a couple things very well; it provides stellar songwriting and momentum building, gives a healthy shot in the arm of indie-slathered 90s era punk rock, and in doing both provides a direct line to the sonic and perhaps more importantly workhorse aesthetic of the nascent indie punk heyday of the 90s. Trip out on that, holmes!



Blackened Sludge-Punks | Worry – The newest EP from Colorado Springs hea…
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CO Springs emcee Che Bong goes outer limits on new psychedelic full length
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One more thing...

Local and independent journalism is under threat in the West and you can change that.  With corporate raiders slashing newsrooms across the West, the PULP is one of the "Last Locals" in Colorado to produce original, compelling journalism missing in today's profit hungry world. But that costs money, time and hard work. We don't believe in spamming you with ads that's why we need your help.

For every contribution, we put 100% back into producing original and amazing journalism. That's a promise only a local and independent newsroom can promise. Take heart because you will fuel stories just like this one and the future of journalism.
Continue Reading

One more thing...

Local and independent journalism is under threat in the West and you can change that.  With corporate raiders slashing newsrooms across the West, the PULP is one of the "Last Locals" in Colorado to produce original, compelling journalism missing in today's profit hungry world. But that costs money, time and hard work. We don't believe in spamming you with ads and that's why we need your help.

For every contribution, we put 100% back into producing original and amazing journalism. That's a promise only a local and independent newsroom can promise. Take heart because you will fuel stories just like this one and the future of journalism.

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